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The Acheron Oracle of the Dead in the Ioannina Archaeological Museum
E. Kotjabopoulou Challenging myths in the museum 1 CHALLENGING MYTHS IN THE MUSEUM THE ACHERON ORACLE OF THE DEAD IN THE IOANNINA ARCHAEOLOGICAL MUSEUM / ΑΜΦΙΣΒΗΤΩΝΤΑΣ ΜΥΘΟΥΣ ΣΤΟ ΜΟΥΣΕΙΟ ΤΟ «ΝΕΚΡΟΜΑΝΤΕΙΟ» ΤΟΥ ΑΧΕΡΟΝΤΑ ΣΤΟ ΑΡΧΑΙΟΛΟΓΙΚΟ ΜΟΥΣΕΙΟ ΙΩΑΝΝΙΝΩΝ Eleni Kotjabopoulou / Ελένη Κοτζαμποπούλου* _________________________________________________________ ΠΕΡΙΛΗΨΗ Στο άρθρο αυτό παρουσιάζεται και συζητείται η περίπτωση εφαρμογής, στην τελευταία μόνιμη έκθεση του Αρχαιολογικού Μουσείου Ιωαννίνων (2008), ενός ανατρεπτικού μουσειολογικού μηνύματος για το πολύ γνωστό εύρημα από τη Θεσπρωτία, του λεγόμενου «Νεκρομαντείου» στον Αχέροντα. Το παράδειγμα αυτό συνιστά μέρος της ευρύτερης ιδεολογικής, επιστημολογικής και μουσειογραφικής προσέγγισης, που το ριζικά ανανεωμένο εκθεσιακό πρόγραμμα ακολούθησε στο μητροπολιτικό μουσείο της Ηπείρου. Στον πυρήνα του βρίσκεται η έμπρακτη αμφισβήτηση πλήθους αγκυλώσεων και παραμορφώσεων σχετικά με την ερμηνεία και τις χρήσεις του παρελθόντος. Στο *Eleni Kotjabopoulou (MPhil, PhD - University of Cambridge) is archaeologist at the Ephorate of Antiquities of Ioannina, Greece. [email protected] Museumedu 6 / Autumn 2018, pp. 23-80. Copyright © 2018 by Museum Education and Research Laboratory, University of Thessaly. All rights of reproduction in any form reserved. Museumedu 6 / Autumn 2018 23 E. Kotjabopoulou Challenging myths in the museum επίκεντρο της μουσειακής περιοχής για το «Nεκρομαντείο» τίθεται η ανάλυση της διασύνδεσης της αρχικής ταύτισης (τέλος δεκαετίας 1950) του ελληνιστικού οικοδομήματος στη θέση Μεσοπόταμος (σε συνδυασμό με το φυσικό περιβάλλον της περιοχής) ως «Nεκρομαντείου» με την ανάγκη οικοδόμησης τότε ενός τοπικού αφηγήματος, το οποίο αναπαρήγαγε και συντονίστηκε με το κεντρικό εθνικό ιδεολόγημα της ελληνικότητας. Ιδιαίτερα συζητείται η συνεχιζόμενη ακόμη και σήμερα διστακτικότητα, τόσο από τη μεριά της ελληνικής αρχαιολογικής κοινότητας όσο και από το ευρύτερο κοινωνικό σύνολο, απέναντι στη νεότερη ερμηνεία για το εύρημα (δεκαετία 1980), σύμφωνα με την οποία αποτελεί δείγμα οχυρωμένης αγροικίας. -
Theory Doi: 10.1017/S1359135520000093
arq (2020), 24.1, 83–94. © Cambridge University Press 2020. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re- use, distribution, and reproduction in any medium, provided the original work is properly cited. theory doi: 10.1017/S1359135520000093 Analysing how societal conventions translated into architectural design in a house designed by Aris Konstantinidis, experienced as constraining and oppressive by the resident. The architect, the resident, and a murder: the case of a house by Aris Konstantinidis Myrto Kiourti with Kostas Tsiambaos The architect enters and stares at the couple, who are reference to a house he designed in the early 1960s embracing in the middle of the room [...] ‘No, they are not the for a wealthy Athenian couple. ones I really wanted. No, no, they are destroying the The house was a three-storey private residence harmony of the place. It is terrible! Oh no! They have to go…’ constructed as an exposed reinforced concrete (The architect slowly brings a revolver out of his pocket) They frame, like all projects designed by Konstantinidis have to go … (He points at them.) ’They absolutely must go!’ in his distinctive architectural idiom. It was highly (He shoots twice. The couple collapse on to the floor).1 praised as an example of Greek postwar modernism (Electra Kadmou) [1]. The building consisted of a plain rectilinear structure measuring 19 x 6 metres, which was set Aris Konstantinidis is considered one of the most far back on a sloping site, planted with pine trees. -
REFLECTIONS of a NATION Antigone on the Modern Greek Stage
REFLECTIONS OF A NATION Antigone on the Modern Greek Stage Andria Michael Royal Holloway, University of London Thesis Submitted for the Degree of PhD in Classics 2015 2 Declaration of Authorship I, Andria Michael, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Andria Michael 18 December 2015 3 Abstract This thesis is a study of performances of Sophocles’ Antigone on the modern Greek stage, their political and social resonances, their cultural contexts and their role in the formation and presentation of modern Greek national identity. It is the result of research concerning the revival of ancient Greek drama, in accordance with modern Greek theatre history as well as with the broader history of the modern Greek nation. As a play political in its essence, Antigone has been widely used as a political statement in the Greek revivals from the second half of the nineteenth century onwards. To attempt an examination and analysis of such performances covering this long period of time means to simultaneously examine the key events of the country: the liberation from Ottoman Rule, the early process of formation of the new state, the hotly disputed conflict of the Language Question, the modernist Generation of the 1930s, the Greek Civil War, the Dictatorship of 1967-1974, as well as many other significant events and movements of modern Greek history. The approach of the work is qualitative rather than quantitative. The aim is to choose the specific moments when theatre and politics cross paths, to examine the connections between artistic choices and political incentives, and to highlight the moments which eventually reveal that Antigone has been repeatedly used as a platform for political or politically charged issues, conflicts and agendas. -
Populism As Counter-Theory in Greek Architectural Discourse
Tsiambaos, K. Populism as Counter-Theory in Greek Architectural Discourse. ARENA Journal of Architectural Research. 2019; 4(1): 5. DOI: https://doi.org/10.5334/ajar.179 RESEARCH ARTICLE Populism as Counter-Theory in Greek Architectural Discourse Kostas Tsiambaos National Technical University of Athens, GR [email protected] While the established histories of architectural theory generally focus upon the discourse produced by eminent architects and/or famous scholars, there is another counter-discourse that has developed gradually in the background. This is a discourse against architectural theory, in an effort to undermine theory’s importance, even to eliminate its value, scope and use altogether. Yet this implicit anti-theory – which has slowly but steadily become embedded in the international architectural scene over the last decades – is usually ignored or underestimated by architectural historians. Drawing upon the recent literature on populism (e.g. Arditi, Moffitt, Taggart, Laclau), and also taking into consideration the few, but valuable, recent texts about populism within architecture (e.g. Fausch, Fowler, Shamiyeh, Lootsma), I will argue that a populist trend against theoretical inquiry is nowadays dispersed horizontally, thereby legitimizing particular, even if diverging, research methods and design practices. The fight against intellectualism and the elites, the promoting of a new sense of architectural ‘morality’, the use of simplistic procedures, forms and slogans, are among the many symptoms of a populist mentality that traverses ideological boundaries, social contexts and conflicting political identities, linking dreams of radical communal utopias to fantasies of limitless post-capitalist markets. This essay discusses in particular the ways in which such a counter-theoretical discourse has re-emerged in the last decades among architects in Greece. -
The Greek Sale New Bond Street, London | 7 April 2020
The Greek Sale New Bond Street, London | 7 April 2020 The Greek Sale New Bond Street, London | Tuesday 7 April 2020 at 2pm VIEWINGS BIDS ENQUIRIES REGISTRATION Athens +44 (0) 20 7447 7447 London IMPORTANT NOTICE 36 Amalias Avenue +44 (0) 20 7447 7401 fax Anastasia Orfanidou Please note that all customers, 10558, Athens To bid via the internet please visit +44 (0) 20 7468 8356 irrespective of any previous Thursday 26 March www.bonhams.com anastasia.orfanidou activity with Bonhams, are 11am to 8pm @bonhams.com Friday 27 March Please note that bids should be required to complete the Bidder 11am to 8pm submitted no later than 4pm on Athens Registration Form in advance of Saturday 28 March the day prior to the sale. Terpsichore Maria Angelopoulou the sale. The form can be found 11am to 6pm Lola-Theodora Stefanidou at the back of every catalogue Sunday 29 March New bidders must also provide Philippe Glyptis and on our website at www. 11am to 3pm proof of identity when submitting Timos Economopoulos bonhams.com and should be bids. Failure to do this may result +30 210 36 36 404 returned by email or post to the London in your bid not being processed. [email protected] specialist department or to the 101 New Bond Street Telephone bidding will only be [email protected] bids department at W1S 1SR, London accepted on lots with a lower 7, Neofytou Vamva Street Saturday 4 April estimate in excess of £1,000. 106 74 Athens [email protected] 11am to 3pm Sunday 5 April Live online bidding is CUSTOMER SERVICES To bid live online and / or leave 11am to 3pm available for this sale Monday to Friday internet bids please go to Monday 6 April Please email [email protected] 8.30am to 6pm www.bonhams.com/ 9am to 4.30pm with “Live bidding” in the subject +44 (0) 20 7447 7447 auctions/25975 and click on the Tuesday 7 April line 48 hours before the auction +44 (0) 20 7447 7401 Fax Register to bid link at the top left 9am to 12 pm to register for this service. -
A Holistic Approach to Modern Cultural Heritage
Journal of Civil Engineering and Architecture 9 (2015) 130-140 doi: 10.17265/1934-7359/2015.02.002 D DAVID PUBLISHING Xenia Hotels in Greece: A Holistic Approach to Modern Cultural Heritage Zoe Georgiadou, Dionisia Frangou and Dimitris Marnellos Department of Interior Architecture, Decorative Arts and Design, Technological Educational Institution of Athens, Athens 12243, Greece Abstract: In the early 1950s, the Greek National Tourism Organization made a nation-wide attempt to develop tourism in Greece. For a period of two decades, it developed the hotel buildings’ substructure, a project known as the “Xenia project”. During this period, Greek architects, devoted to modernism, designed and supervised 53 hotel compounds, which spread throughout the country. Today, the Xenia Hotels are internationally recognized as part of Greece’s modern cultural heritage, based on the simplicity, the definition of the form and the truth in materials use, besides the integration of the buildings in the natural environment, components which reveal themselves as a unique venture. This paper aims to reveal that, despite the efforts to retain the Xenia Hotels, these procedures remain incomplete. They rightly focus on architectural shells, morphological and functional standardization, proper utilization of the Greek environmental conditions, and the use of authentic local materials. However, the cultural evaluation of these settlements can only be completed by their holistic design, which also comprises their interior spaces, lightening and furniture design, all these detailed aspects that form an organic entirety and which are not included in these efforts. Key words: Xenia Hotels, modern cultural heritage, holistic design, architectural approach, interior design, furniture design. -
Il Viaggio Moderno Nel Passato E Nel Mediterraneo
Il viaggio moderno nel passato e nel Mediterraneo Spinti dalla curiosità i Grand Tourists, tra cui molti architetti, viaggiarono verso antiche città come Pompei e Paestum per conoscere di persona rovine di un lusso prima inimmaginabile. Eppure non si è ancora adeguatamente indagato su come proprio questo carattere dell’antichità abbia potuto influenzare il dibattito architettonico e urbanistico moderno: in effetti, viaggio e lusso sono indissolubilmente legati. Generalmente il Movimento Moderno è considerato disinteressato alla storia urbana; ma dopo la prima guerra mondiale, ad esempio, i futuristi e i loro seguaci milanesi si avventurarono nel Sud Italia con l’intenzione di ‘rimodellare’ l’antico paesaggio mediterraneo in conformità della loro visione modernista. Questo è stato il caso soprattutto di Napoli e dell’Isola di Capri: è noto come Filippo Tommaso Marinetti credesse nella modernizzazione attraverso un’enfatizzazione delle “aspre rocce montagnose del sud”, tipiche di Capri, circondate da cactus. Nel descrivere i loro viaggi a Napoli e a Capri, gli architetti moderni europei, in particolare Le Corbusier, Josef Hoffmann e Bernard Rudofsky, ‘viaggiarono’ nei loro scritti così come nei loro schizzi: a Napoli le antichità ispirarono le loro versioni del paesaggio moderno, come testimonia la Villa Oro di Luigi Cosenza e Bernard Rudofsky, edificata negli anni Trenta sulla collina di Posillipo. Sono di seguito raccolti scritti che si occupano di viaggi di architetti nel Mediterraneo, in particolare nel Golfo di Napoli e nelle sue isole, e il ruolo assunto dal paesaggio moderno come bene culturale ‘di consumo’. Uno dei temi principali è il fenomeno della diffusione dell’architettura di paesaggio, come quelle di Bernard Rudofsky, Le Corbusier, Gio Ponti, Maria Teresa Parpagliolo, Lina Bo Bardi, Louis Khan, Thomas Church o David Pacanowsky. -
126 Shaping the Vision: the Photographic Work of Aris
SHAPING THE VISION: THE PHOTOGRAPHIC WORK OF ARIS KONSTANTINIDIS Josefina González Cubero Escuela Técnica Superior de Arquitectura de Valladolid / Higher School of Architecture, University of Valladolid, Spain Abstract During his studies of architecture at The Technical University of Munich, Aris Konstantinidis (Άρης Κωνσταντινίδης; Athens, 1913-1993) comes in contact with the conceptions of Modernism. His early works reflect this affiliation, but soon he builds an architecture that does not renounce to the modern condition, and neither to establish a close relationship with tradition and genius loci of his country. Along with the practice of architecture, he develops a photographic activity, using photography as documentation and promotion of his architectural work. But he does not stop there, as he uses photography in all its possibilities. Throughout his life he uses it as a research and knowledge tool of his environment, and as a construction of the camera as well, I, e, as art of looking. This paper studies the characteristics of Konstantinidis pictures about the Greek landscape and the vernacular architecture in his two books entitled Elements for Self- Knowledge. Towards A True Architecture (Στοιχεία αυτογνωσίας. Για μιαν αληθινή αρχιτεκτονική, 1975) and God-Built (Θεόκτιστα, 1992), and his final presentation in the design of books. Keywords: Konstantinidis, architecture, photography, vernacular, book design. Since the moment that modern architecture and photography of architecture have arrived to its maturity level, the architect